so Kaaj Kathin Jag Maahi, Jo Nahi Hoye Taat Tum Paahin”- “Is there a task in
the world herculean enough that you can not do!” For the devotee of Sri
Hanuman, no obstacle in the universe is big enough to block their path, for the
gaze of Sankat Mochan forever guides and guards them to supreme wisdom. In this
Bhagwan Hanuman appears in a benevolent mood, sitting cross-legged, adorned
with divine ornaments. Emanating a powerful aura from his enlivened face,
Prabhu Hanuman carries his Gada in one hand as with the other in Abhaya mudra,
he dispels all fears and negativity from the heart.
This statue of Hanuman representing him seated cross-legged as in
Yoga-mudra, and his right hand held granting abhaya – protection from
fear, is a form of his image rarely represented in arts, and not much
consistent to his personality and overall cult. The most humble
divinity Hanuman always claimed for him the status of the Rama’s
servant, even that of his emissary only rarely. In some of the moments
of crisis he even rescued his master Rama but his humility made him
announce only that not a grain of his strength is his own, and
whatever he has he draws perpetually from his master. Obviously, the
masters’ assumptive posture, as reveals in abhaya-granting mode, could
hardly be an humble servant’s bearing. Commemoration of the name of
Rama apart, Hanuman is not known to resort to any formal rituals and
Yoga like formal practices. Even a sitting posture does not much befit
with his overall personality of an alert servant always on heels.
Hence, a statue representing him as seated in Yogasana reveals new
dimensions of his image.
One possessed of unfathomable knowledge, immeasurable virtues and
unparalleled might, as he has been lauded in texts, Hanuman is
exceptionally humble, kind and compassionate. Except whatever
mythicism, metaphysics, mysticism, or the principles of cosmic unity
or oneness of existence that his form : a blend of human and animal
aspects, suggests, Hanuman does not have associated with him any
philosophy or dogmatism. He seems to have never promoted the cult of
rigorous penance, not even one of his devotees in the entire body of
mythology ever indulging in it. He is content in being the bridge
between his devotee and his master. Such is his humility that his
protection is assured even when he is commemorated simply by his name.
His mere presence, or name, dispels every evil and leads to success in
every walk of life.
One of the most loved Indian deities, and far widely worshipped with a
greater number of shrines dedicated to him than to his master Rama,
this brass statue represents Hanuman as seated cross-legged with no
formal seat, even a simple pedestal, under him, carrying in his left
hand his most usual attribute mace, while the right is held in the
gesture of granting ‘abhaya’, one, assuring freedom from fear, and
other, ensuring it. Though greatly refined, in the style of face with
greater emphasis on its monkey-aspect, voluminous and bold figure with
tough look, and in heavily conceived ornaments the image reveals
Hanuman’s basic ethnic character. As contend many scholars, like Kali
Hanuman too was a divinity worshipped since long by aboriginal tribes,
and in whatever degree, that ethnicity has been always an inevitable
element in his imagery.
The statue cast in fine brass with some parts polished, revealing
gold-like lustre, and others : recesses, folds and shaded parts, and
details of wears, left unpolished creating by contrast the effects of
lines, reveals a painted piece like two-colour effect. The monkey god
clad in loincloth, carrying a sash on his shoulders, and putting on
the frontal decorative ‘pata’ in the parting of legs trailing down to
the foreground, is sitting with a firm posture. His figure has been
conceived with an oval face framed with a well-trimmed beard on the
lower side, and with the headgear, on the upper. His little projected
mouth blends with the monkey face the face of a lion. He has wide open
eyes with bows-like arching eyebrows, well fed cheeks and moderately
wide forehead with a Vaishnava tilaka mark in the centre. The monkey
god is putting on a tall crown and a few ornaments, large size
‘kundalasa’ – ear-ornaments, a broad necklace with a large pendant
with ‘Rama’ inscribed on it, a two-laced necklace and a large garland,
much like the Vaishnava Vaijayanti, trailing down his lap, and bangles
on arms, wrists and ankles. Though with a narrow breadth covering just
the groins, the border of the loincloth has been beautifully and
elaborately designed using floral and geometric design-motifs.
This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.
How to keep a Brass statue well-maintained?
Brass statues are known and appreciated for their exquisite beauty and luster. The brilliant bright gold appearance of Brass makes it appropriate for casting aesthetic statues and sculptures. Brass is a metal alloy composed mainly of copper and zinc. This chemical composition makes brass a highly durable and corrosion-resistant material. Due to these properties, Brass statues and sculptures can be kept both indoors as well as outdoors. They also last for many decades without losing all their natural shine.
Brass statues can withstand even harsh weather conditions very well due to their corrosion-resistance properties. However, maintaining the luster and natural beauty of brass statues is essential if you want to prolong their life and appearance.
In case you have a colored brass statue, you may apply mustard oil using a soft brush or clean cloth on the brass portion while for the colored portion of the statue, you may use coconut oil with a cotton cloth.
Brass idols of Hindu Gods and Goddesses are especially known for their intricate and detailed work of art. Nepalese sculptures are famous for small brass idols portraying Buddhist deities. These sculptures are beautified with gold gilding and inlay of precious or semi-precious stones. Religious brass statues can be kept at home altars. You can keep a decorative brass statue in your garden or roof to embellish the area and fill it with divinity.
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